- Gebundene Ausgabe: 292 Seiten
- Verlag: Harry N. Abrams, Inc.; Auflage: Har/Com (März 2002)
- Sprache: Englisch
- ISBN-10: 0810968320
- ISBN-13: 978-0810968325
- Größe und/oder Gewicht: 24,8 x 20,3 x 3,4 cm
- Amazon Bestseller-Rang: Nr. 2.223.664 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Produktinformation |
Produktbeschreibungen
From Library Journal
Whitney biennial exhibitions are often boisterous, unruly arrangements of sound, color, and light. The 2002 biennial is no exception, encompassing over 100 artists working in film, video, computer projects, music, sound-based art, photography, painting, and sculpture. The catalog design two pages devoted to each artist, with images printed on bright, glossy stock and text on contrasting, darker paper does a fine job of managing the excitement, presenting the works in a consistent format and thus lending cohesion to a subject that might overwhelm readers. This is a catalog in the truest sense of the word, a systematic listing, in alphabetical order, of the contents of the show that will serve best as a checklist for students and scholars interested in studying this biennial long after the sound and color have faded. The brief descriptions of each of the artists' works are fine thumbnail sketches, but those interested in learning more about these artists many of them quite young will need to look elsewhere. Abbreviated biographies on each artist are included, as is an audio CD with music and sound pieces. For collections serving art students, scholars, and curators. Michael Dashkin, PricewaterhouseCoopers, New York City
Copyright 2002 Reed Business Information, Inc.
Copyright 2002 Reed Business Information, Inc.
Synopsis
The experience of the artworks featured at the Whitney Biennial is necessarily difficult to contain within the covers of a catalog, as the performative, conceptual, and multi-sensual aspects of the art may only be captured by being there. This volume will be useful, nonetheless, for its short biographies of each artist and the analyses of their wor
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2 Rezensionen
This was a great show, and this is a beautiful catalog
24. Dezember 2011
Format:Gebundene Ausgabe
OK, in full disclosure, I was in this show, and very proud of it, but also, I think it is an important book for your reference shelf. AFter all, everyone has something bad or controversial to say about the biennials, so lets skip that, and focus on the fact that a book like this, or other museum catalogs serve to give the reader a good sense of a particular slice of art history at any given time. Even if that history is slanted, biased, etc., you still get to see art work that is good.
7 von 10 Kunden fanden die folgende Rezension hilfreich
Biennial with an identity problem...
5. April 2002
Format:Gebundene Ausgabe
Walking away from the 2002 Whitney Biennial, I had mixed feelings of the state of contemporary art. The Whitney has resigned to classifying it in a catch-all "pluralism" in which there simply is so many voices out there under so many disciplines and influences that it cannot be herded into an umbrella term. Fair enough, but the show is probably an ideal example of how problematic such resignation can be.
The cross-over of disciplines fairly common among artists made for an interesting mix of pieces ranging from collective installations to delicate sculptural pieces to a mix of mainly urban "house-like" soundworks. Indeed the transition from Tracie Morris' stuttering and beautiful soundworks to Chris Ware's highly-detailed agnst-ridden comic panels to Destroy All Monsters' urban, almost adolescent painted tributes to Detroit was a fairly smooth one.
The mood of the exhibition, though often felt artifical and sometimes contrived. In an age of an overabundance of market imagery, pondering over the various aspects of mosh-pits and extreme sports had the impact of a cola commercial. Artists as spiritual conduits; spiritual leaders as artists; channeling the spirits of dead artists. This all seems interesting but were they in the appropriate forum? Which leads to the questions has the Biennial outlived its usefulness as a forum? Has contemporary art outgrown museums as a result of market/academic/visual oversaturation?
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